Concept design, concrete scores,
enharmonic electric bass.
Audio mixing, sound projection.
“Acousmatic Black Metal”
it’s our self-defined musical genre, a kind of conception about the sound experience,
related to the phylosophy of Pythagoras of Samos.
The acousmatic art, according to Pierre Schaeffer “is said to be derived from akousmatikoi, the outer circle of Pythagora’s disciples who only heard their teacher speaking from behind a veil. In a similar way, one hears acousmatic music from behind the ‘veil’ of loudspeakers, without seeing the source of the sound”.
Inspired by the Russolo‘s researches in his black Art of Noise, the sound spatialization studies of Karlheinz Stockhausen and his music theory, and by Edgar Varese‘s studies and his vision of “sound as living matter“.
Music for loudspeakers and audience; based on atonal music and non-idiomatic improvisation principles, applied to a radical black metal approach, linked to authors such as Abruptum, Bathory, Moevot, Hellhammer, Celtic Frost and other pioneers in this music genre, designed in acousmatic key, for an immersive deep listening experience in the sound projection.
Music for loudspeakers and audience.
C ∴ O ∴ M ∴ M ∴ E ∴ N ∴ T ∴ A ∴ R ∴ I ∴ V ∴ M ∴
S = S (L. O. A. I)
Tele.s.therion music program it’s based on the use of techniques and dynamics borrowed from musical genres such as Jazz and Rock, and thus from the practices of the radical primitive Blues that unites them, and that can be find ourselves in the original Black Metal music, introduced here as an interpretive key inside of a compositional and executive system linked to practices carried out by the fringes of classical, modern, non idiomatic, contemporary, and avant-garde music (with a special interest on the “concrete and acousmatic process”), sound-art, improvised, atonal, black, dark and doom heavy metal, searching for the roots of the meaning of these terms, for their sonic phenomenas, their thought-forms, before they became a music genre. What we commonly know today as black metal, it’s just one of the possible “forms” availabes.
It is necessary start to watch through the veil of this “genre”, with an “upside down” point of view, to discover its “das unheimliche”, to transgress the stereotopies and cliché, and design new possible forms whithin this musical dimension; to start a new auditory journey to the roots of Black Metal music.
The Black Metal’s engineering its mutuated by its descent, which is derived from the practices developped in Punk and Thrash era, and it is distinguishable by a strong interest in the aesthetic theories, focusing on the physiological effects of special “categories” such as the sublime, which here become extra-musical evocative suggestions, shock tactics, hard-edged, transgressive and anti establishment attitude, iconoclasm, etc.
The traditional currents of Black Metal’s golden age, are channelled in the compositional method and conceptual program of Tele.s.therion, influenced by the origin of the modern wenster music tradition, where in the early years of Blues music movements, was a common behaviour play music using self-built or broken instruments, practices which had imprint the origin of the modern music, discovering and invent a the large spectre of timbres, rithms and sound theories (today this tradition it’s became a common field of research, including the variety of prepared instruments, and the related unorthodox creative technique of playing it), so influent to have reinvent the auditory experience (such has done by the Jazz music, Rock ‘n Roll, etc…), this pionieristic exploration, born originally for an emergent necessity, must be reconsider today as a territory to explore, to develop the operative framework of references of the “blackened” music, grown with this genes.
Introduced here as an interpretive key inside of a compositional and executive system, linked to practices carried out by the fringes of classical music contemporary and avant-garde (“concrete and acoumatic process”), inspired by Luigi Russolo ‘s researches in the Art of Noise, to the spatialization studies of the sound by Karlheinz Stockhausen (and his music theory), and the studies of Edgar Varese and his vision of “sound as living matter”. The orchestration of sound-objects / sound-event (non-idiomatic improvisation session, performed by each author separately) and fixed on digital media, and later, during the audio mixing, linked to each other through a “diegetic dramatization” of the homonymous work of Stockhausen, transfiguring it, is designed, among other things, to unleash during the sound projection, auditory stimuli (pareidolics) that allow to alter the cognitive-perceptual processes in the listener, to trigger immaginative’s subconscious and unconscious sinesthetic processes.
The sound matters was previously selected choosing the performers; the characteristics and the timbres of the sound-bodies chosen for this acousmatic composition, are a unity with the personality of the author involved in the ensemble. Such as characters on the set of a movie, they play “blind” and “alone”, using a script and few essential indications, but the whole “formula” is directed from behind the curtains. To keep this aspect of independence of each sound-event, each author was called to “perform himself”, recording his own sessions separately, as a moment-form, without knowing what the other authors involved will do. So the authors have been chosen as sound-bodies, regardless of what they would have done at the time of the fixation of the sound event, and only after, they were mixed and assembled, forming to give shape at the four-dimensional scene, through the modulation of the “chiaroscuro”, molding the perspective plans of the sound frequencies, in order to be later performed by orchestras of loudspeakers, through some “formulas” (of which the concept album it’s one of the possibles), designed primarily as polyphonic sound projection, for hi-fi stereo systems and multi-channel audio spatialization systems.
Luzifers Abschied It’s a formula-composition: the sound-objects / sound-events (authors) present in the music composition, have been triggered, influenced, programmed, directed by a “super-formula”, fixed in a “concrete score”, a recording of non-idiomatic improvisation, performed at the enharmonic electric bass guitar, created using modulations and combinations of tones and timbre densities and sound masses of secondary frequencies, or non-harmonic resonance frequencies. This system is based on moment-forming principles, a compositional approach in which the narrative line is deliberately avoided, so the components of of these moment-forms, are related by a nonlinear principle of proportions or symmetry.
So the authors have been chosen as sound-bodies, regardless of what they would have done at the time of the recording of the sound event, and only after, they were fixed and assembled, to give shape at the four-dimensional scene, through the “chiaroscuro” and the related perspective plans of the sound frequencies, in order to be then performed by orchestras of loudspeakers, through some “formulas”, of which the concept album it’s one of the possible), designed primarily as polyphonic sound projection, both for hi-fi stereo systems and multi-channel audio spatialization systems, for an immersive (public or private), deep listening experience.
The orchestration of all the sound-objects / sound-events made by the non-idiomatic improvisation sessions, was performed and fixed on digital media by each author separately, later, each one was linked to the others through a “diegetic dramatization”, made due the audio mixing techniques, transfigurating the homonymous score composed by Karlheinz Stockhausen, originally conceived for male chorus with mass bells, good friday clappers, organ/synth, tam-tam and seven trombones, a stone and a sack of coconuts, a caged wild black bird. The experience of playing a Tele.s.therion concept album, is to be taken as a starting point for a profound, introspective, phenomenological investigation, during the act of the perceptual experience. In this sense the sound can be a vehicle of knowledge.
This music is made for an immersive (public or private), deep listening experience, designed to unleash, during the sound projection, auditory stimuli, “pareidolia”, that allow to alter the cognitive perceptual processes in the listener, to trigger immaginative subconscious and unconscious sinesthetic processes. Michel Chion define the “acusma” as a “sensory phantasm”, consisting of a sound whose true source of emission is invisible. In this way Tele.s.therion music it’s a device for “ghostly” manifestation of sound masses. Extended methods and unortodox practices of “sound fixation” and “sound reproducibility” to design the audible and the inaudible.
Tele.s.therion has developped a sincretic operative point of view, searching to radically force the coordinates of the common aesthetic paradigms. The echemytia is the secret syntax of the Tele.s.therion’s music theory and compositional method, and it could be briefly described as characterized by the use, of thought-forms instead musical sheets; “blind” performers which record their improvised music sessions instead a studio band; concrete scores instead notations; the “veil” of orchestra of loudspeakers instead the common stage music representation. An aniconic, abstract, non-objective, non-representational, minimalist, acousmatic and hermetic visual enstablisment, to let the audience play with their inner visions, and achieve the ἐποπτεία.
Biographies of the authors
involved in “Luzifers Abschied”:
Acousmatic Black Metal Ensemble
Musician and vocalist from Ukraine.
In group: Astral Lueur, Chapter V:F10, Virvel Av Morkerhatet.
French soprano saxophonist, he developed a very personal approach with his music and his instrument in improvised music. He played and recorded with Fred Van Hove, Phil Wachsmann, Max Eastley, Steve Beresford and Americans: John Zorn, Eliott Sharp, Elvin Jones. In 1985 he made his first record under his own name. At the same time he started playing regurlarly with Lê Quan Ninh, Daunik Lazro, Beñat Achiary, Martine Altenburger, Barre Phillips, Paul Rogers, Tetsu Saitoh, Kazue Sawai. More recently he developed his work with Fred Frith, Keith Rowe, Gunter Muller, Bhob Rainey, Giuseppe Ielasi, Alessandro Bosetti, Alain Joule, Barre Phillips, Dominique Regef, Elvin Jones, and many others musicians and dancers as Masaki Iwana, Yukiko Nakamura, Valérie Métivier and poets, actors. He has been very involved in the international improvised music scene, toured in Africa, Japan, Asia, USA, Canada, South America, Russia and with a lot of improvisers in Europe. In Groups: Barre’s Trio, From Between Trio, Idiome 1238, Quatuor Aerolithes, Une Chance Pour L’Ombre. As of today he recorded almost 50 records for European, Americans and Japanese labels.
Le Quan Ninh:
Is a French percussionist active in contemporary music and free improvisation. He began studying piano at the age of5, but turned towards percussion as a teenager. When he was 16, he entered the National Conservatory in Versailles. During this time he discovered free jazz. After graduating, he taught percussion for 3 years at a conservatory in Bondy, France while performing with contemporary music, dance, and theater groups often using self-taught techniques and found objects in his improvisation. Since the 1980s Ninh collaborated with Daunik Lazro, Michel Doneda, Serge Pey, Peter Kowald, Butch Morris, and Nicolas Peskine’s Compagnie du Hasard, Martine Altenburger, André Goudbeek, Peter Jacquemyn and many others, featuring improvisers from different cultures, such as Kazue Sawai, Sainkho Namtchylak, Seizan Matsuda, Zeena Parkins, Junko Ueda, Ishii Mitsutaka, Leo Smith, Savina Yanatou, India Cooke, Xu Feng Xia, Werner Lüdi, and Gunda Gottschalk to name a few. In Groups: Chris Burn’s Ensemble, ensemble]h[iatus, Idiome 1238, Quatuor Hêlios, The Misha Lobko Sextet, Une Chance Pour L’Ombre. His discography counts about 40 CD on european and north american labels.
Jason Van Gulick:
One of the most inventive drummers on the contemporary music scene, he processes the sounds of his drum set in real time providing an explosive mixture of wild rhythms and abstract soundscapes. He has developed his artistic approach in the confrontation between the acoustic character of his chosen instrument and amplification via contact and ambient microphones, exploring architectural possibilities through diffusion in resonant spaces. Over the last twenty years he has emerged from an eclectic musical background: from beginnings in hardcore, extreme rock and post-metal and then jazz and improvisation, finding his place in noise and modern composition. He has performed and recorded with Carla Bozulich/Evangelista, Stephen O’Malley (Sunn O)))), Chris Corsano, N.U. Unruh (Einstürzende Neubauten), Y.E.R.M.O., Sum Of R, Bison Bisou, Ed Wood Jr and the interdisciplinary Collective DEGA!
Kasper T. Toeplitz:
French composer and musician of Polish origin. He has worked with academic research organizations, such as GMEM, GRM, IRCAM, and Radio-France, as well played and recorded with experimental musicians, such as Éliane Radigue, Zbigniew Karkowski, Dror Feiler, Tetsuo Furudate, Phill Niblock and Art Zoyd . Citing Giacinto Scelsi and Iannis Xenakis as influences, his early work was mostly written for traditional instruments. He received several prizes and distinctions for these works. He create called the BassComputer, an electric bass with 5 fretted strings and 4 unfretted strings, intended to be interfaced with a computer. In 2004, he commissioned a piece from Eliane Radigue called Elemental II, which he interpreted for the BassComputer. He later commissioned Phil Niblock’s Yam almost may, and Dror Feiler’s Ousia. He has also written for dance, as well as theatre. In 2007 he created, with Eryck Abecassis and Wilfried Wendling, KERNEL, a computer ensemble devoted to interpretation, live stricto sensu (without any samples or sequences), of electronic music compositions. In Groups: Art Zoyd, Clystere, Kernel, La Rédemption Électrique, Le Dépeupleur, My Daily Noise, Senssurround Orchestra, Sleaze Art.
Composer and sound artist whose works assume a wide diversity of forms spanning compositions for ensembles, solo performances, sound installations and transdisciplinary projects. His compositions are characterized by textural density and microtonal tensions often resulting in sound-masses exploring the physical dimensions of space. The works of Antoine Chessex have over the years crossed the boundaries between noise, modern composition, improvisation and electronic music. His background as a saxophone player saw him performing extensively in different experimental music contexts over the past decades.Recent chamber music commissions include DUST (2010) for three violins and electronics, Chute for the Kammerensemble Neue Musik Berlin, Schichten & Ritournelle Fulgurante for the oh ton Ensemble, Metakatharsis & Damage is Done for the Phoenix Ensemble, Furia for the Ensemble Werktag in Zürich and Plastic Concrete & Accumulation for Apartment House in London. In 2016, he wrote Les Abîmes Hallucinés for the Ensemble Proton in Bern & Jérôme Noetinger. Collaborations with musicians Lasse Marhaug, Zbigniew Karkowski, Jérôme Noetinger, Maja Ratkje, Valerio Tricoli, Dave Phillips, the noise band Monno, architect Christian Waldvogel and media artist Ulrike Gabriel. In Groups: Calcination, Monno.
Italian musician, involved in free impro music, drum and percussion teacher. He played and recorded with Simon Balestrazzi, Giacomo Salis, Mario Brai, Enzo Favata, Elia Casu, Luca Santini, Alessandro Olla, OnGaku2, OKRA Percussion project, Michele Anelli, Mauro Basilio, Fabrizio Bozzi Fenu, KLICK Ensemble and many others.
“Luzifers Abschied”: Additional Mix and Mastering by Paolo Ambrogio Siconolfi.
Produced by Marco Melzi.
Tele.s.therion “Black Paintings VIII-XI”
Format: Digital Edition
Label: Radical Matters – Editions/Label
Sound composition from the sessions conceived
as an acoustic audio installation for the Rothko Chapel